تياتر تعليمي ـ تربيتي (پداگوژيك): مطالعه‌اي تطبيقي

Pedagogic theatre: a comparative study

در دهه‌هاي اخير به‌ويژه با گسترش روزافزون هنر تياتر در كشورهاي مختلف، و نيز طرح نظريه‌هاي جديد نمايشي مبني بر ظرفيت‌هاي بالاي اين هنر در مسير ارتقاي كيفيت زندگي بشر، وجوه تازه‌اي از اين هنر بازشناسي و ارايه شده است. يكي از اين وجوه، كه از سوي بخش وسيعي از نهادهاي آموزشي و تربيتي، و نيز محافل علمي و دانشگاهي مورد توجه قرار گرفته است، تياتر تعليمي‌ـ تربيتي يا پداگوژيك نام دارد. هنر نمايش به صورت عام و تياتر به صورت خاص از ديرباز با دو كاركرد متفاوت به جامعه‌ي بشري معرفي شده است: كاركرد فرهنگي‌ـ روشنفكري، كه بيشتر بر جنبه‌هاي ارايه‌ي اثر هنري مستقل به مخاطبان تاكيد دارد، و كاربرد تعليمي‌ـ تربيتي كه متضمن پرورش روح، آموزش و ارتقاي كيفي زندگي انسان است. كاربردي كه تياتر را نه فقط هنري براي سرگرم كردن مخاطبان و اقناع ذوق هنري آنان ، بلكه فرايندي پيچيده و موثر بر سير تحولات فكري بشر مي داند. مقاله‌ي حاضر با استناد به آراي متفكراني چون ماكارنكو و فرير و بوآل و نيز تجارب جهاني در حوزه‌ي استفاده از تياتر در راستاي مقاصد تعليمي و تربيتي به بررسي ويژگي‌هاي تياتر تعليمي‌ـ تربيتي (پداگوژيك) و تفاوت‌هاي آن با تياترهايي كه صرفاً اهداف ديگري از جمله فرهنگي‌ـ ‌روشنفكري را دنبال مي‌كنند، پرداخته است.

Theatre is not just bound to what happens on the stage and in front of the eyes of the spectators. The process of preparing and practicing theatre is effective in training people. In this way theatre sociologists have studied theatre from the point of view of affects on social contacts and pedagogical theorists who think that childhood is the most important period in forming people personality have focused on theatre from the pedagogical point of view. In our country – although limited – theatre is used in kinder gardens in training children. In this article which aim is knowing the how and effects of theatre on children, children theatre as a two-dimensional art which is in close relation with its spectators, and its pedagogical effects on spectators are analyzed. In fact, the main discussion is to introduce pedagogic theatre as a resource in training. Researching about theory of drama is very important because pedagogical and applied drama are necessary for education in life and schools . in this article I try to their characteristics. In fact applied drama and non applied drama are not separated of their characteristics like entertaining because both of them have this dimensions, In this research with studying the most important source in Persian we studied and important pedagogic and cultural – intellectual drama and their characteristics. This research illustrates, in our country. The charging of behavior of audience in pedagogic drama is considerable and in cultural- intellectual aesthetics is very important. Pedagogical drama in education theatre is important. It seems that theatre have not paid attention to this kind of education in drama studying therefore using of drama as an educational tool is one of the most important aims of this research. This research is comparative research and in this comparison ,two important kinds of ideas, we get serious results. about pedagogic and playing and its role in behavior of children , however, nowadays we have to pay attention to the educational side of in institute. So I think pedagogical and applied drama in schools and central education is more than and important the comparative of traditional education. In future we must try to better education and drama for students. If we try in the next time and future teach drama and pedagogical drama in the schools, that is successful for students. social theatre, political theatre, radical theatre and many other variations, but over the course of the last decade, “applied theatre” is the term that has emerged as the umbrella under which all of these prior terms and practices are embraced. One example of how applied theatre can be different lies in the area of scripting. Whereas traditional mainstream theatre is most often centered in the interpretation of a pre-written script, applied theatre, in contrast, involves both the generation and the interpretation of a theatre piece that in performance may or may not be scripted in the traditional manner.